Elsa Con, 1949-2018

By Philip Pearce

FRIENDS AND THEATER COLLEAGUES crowded into the Carl Cherry Center last Thursday to remember and honor the remarkable Elsa Con, founder and artistic director of Magic Circle Theatre in Carmel Valley.

Hosted by her husband, Bucky Jackson, four veteran actors began the afternoon with vignettes of productions which, from the mid-1990s into the early 2000s, helped make the sixty-seat theater on El Caminito Road a focus of committed and relevant theater on the Monterey Peninsula.

Rollie Dick, ebullient and smiling, recalled how Elsa Con always rejected his insistence that he isn’t Jewish and persuaded him he had to be a reincarnation of someone she knew who was. He proved how right she was with a moving and funny excerpt from I’m Not Rappaport (2013). 

Avondina Wills cited Elsa Con’s calm acceptance of the seemingly miraculous unsnarling of a casting snag that won him the role of a man named Delbert Tibbs which he acted with a clarity and a power that were evident in his excerpt from The Exonerated (2011). 

Sherry Kefalas said that at her first Magic Circle audition, she was given a monologue so funny that she had to stifle her laughter to make it work, which, having done, she got cast. She offered a hilarious rendition of “the turkey story” from Good People (2014).

Jill Jackson said sister-in-law Elsa revealed that she got cast in Magic Circle’s opening production back in 1994, not because she had yet become a seasoned theatrical personality but because, like the assigned character, “I was a hick.” It earned her the free gift of a live pet snake and the riveting role of a rural and religious snake handler in Talking With…

Once Thursday’s prepared program finished, devoted performers, directors, designers, techies and family friends from near and far spoke of Elsa Con with affection and praise. There emerged a picture of a woman who refused to give up even to the extent of closing and then re-opening Magic Circle in the face of the seemingly impossible financial challenges suffered by any small-sized theater space. If you’re fewer than 500 seats, even full houses every night will lose money every night if your tickets sell at a price audiences can pay. Thursday’s crowd remembered a woman who delighted in discerning talent in people who didn’t know they had it. They saluted her passionate love of directing and her resistance to being herself pushed into the spotlight—a  resistance that extended to hating even having to offer that generic “please turn off your cell phones” spiel just before the show began. Remembering her, speakers honored her Quixotic commitment to turning a seemingly impossible dream, while it lasted, into an impressive local artistic reality.   

The Listener

CaptureBy John Berry

ONCE THERE WAS a puny little Czech concert violinist named Rudolf, who lived in Sweden. Some of his friends thought he was not the best of musicians because he was restless; others thought he was restless because he was not the best of musicians. At any rate, he hit upon a way of making a living, with no competitors. Whether by choice or necessity, he used to sail about Scandinavia in his small boat, all alone, giving concerts in little seaport towns. If he found accompanists, well and good; if not, he played works for unaccompanied violin; and it happened once or twice that he wanted a piano so badly that he imagined one, and then he played whole sonatas for violin and piano, with no piano in sight.

One year Rudolf sailed all the way out to Iceland and began working his way around that rocky coast from one town to another. It was a hard, stubborn land; but people in those difficult places do not forget the law of hospitality to the stranger–for their God may decree that they too shall become strangers on the face of the earth. The audiences were small, and even if Rudolf had been really first-rate, they would not have been very demonstrative. From ancient times their energy had gone, first of all, into earnest toil. Sometimes they were collected by the local schoolteacher, who reminded them of their duty to the names of Beethoven and Bach and Mozart and one or two others whose music perhaps was not much heard in those parts. Too often people sat stolidly watching the noisy little fiddler, and went home feeling gravely edified. But they paid.

As Rudolf was sailing from one town to the next along a sparsely settled shore, the northeast turned black and menacing. A storm was bearing down upon Iceland. Rudolf was rounding a bleak, dangerous cape, and his map told him that the nearest harbor was half a day’s journey away. He was starting to worry when he saw less than a mile off shore, a lighthouse on a tiny rock island. At the base of the lighthouse was a deep narrow cove, protected by cliffs. With some difficulty, in the rising seas, he put in there and moored to an iron ring that hung from the cliff. A flight of stairs, hewn out of the rock, led up to the lighthouse. On top of the cliff, outlined against the scudding clouds, stood a man.

“You are welcome!” the voice boomed over the sound of the waves that were already beginning to break over the island.

Darkness fell quickly. The lighthouse keeper led his guest up the spiral stairs to the living room on the third floor, then busied himself in preparation for the storm. Above all, he had to attend to the great lamp in the tower, that dominated the whole region. It was a continuous light, intensified by reflectors, and eclipsed by shutters at regular intervals. The duration of light was equal to that of darkness.

The lighthouse keeper was a huge old man with a grizzled beard that came down over his chest. Slow, deliberate, bearlike, he moved without wasted motion about the limited world of which he was the master. He spoke little, as if words had not much importance compared to the other forces that comprised his life. Yet he was equable, as those elements were not.

After the supper of black bread and boiled potatoes, herring, cheese and hot tea, which they took in the kitchen above the living room, the two men sat and contemplated each other’s presence. Above them was the maintenance room, and above that the great lamp spoke majestic, silent messages of light to the ships at sea. The storm hammered like a battering ram on the walls of the lighthouse. Rudolf offered tobacco, feeling suddenly immature as he did so. The old man smiled a little as he declined it by a slight movement of the head; it was as if he knew well the uses of tobacco and the need for offering it, and affirmed it all, yet – here he, too, was halfway apologetic – was self-contained and without need of anything that was not already within his power or to which he did not relinquish his power. And he sat there, gentle and reflective, his great workman hands resting on outspread thighs.

It seemed to Rudolf that the lighthouse keeper was entirely aware of all the sounds of the storm and of its violent impact upon the lighthouse, but he knew them so well that he did not have to think about them; they were like the involuntary movements of his own heart and blood. In the same way, beneath the simple courtesy that made him speak and listen to his guest in specific ways, he was already calmly and mysteriously a part of him, as surely as the mainland was connected with the little island, and all the islands with one another, so commodiously, under the ocean.

Gradually Rudolf drew forth the sparse data of the old man’s life: He had been born in this very lighthouse eighty-three years before, when his father was the lighthouse keeper. His mother – the only woman he had ever known – had taught him to read the Bible, and he read it daily. He had no other books.

As a musician, Rudolf had not had time to read much either – but then, he had lived in cities. He reached down and took his beloved violin out of its case.

“What do you make with that, sir?” the old man asked.

For a second Rudolf thought his host might be joking; but the serenity of the other’s expression reassured him. There was not even curiosity about the instrument, but rather a whole interest in him, the person, that included his “work.” In most circumstances Rudolf would have found it hard to believe that there could exist someone who did not know what a violin was; yet now he had no inclination to laugh. He felt small and inadequate. “I make – music with it,” he stammered in a low voice.

“Music,” the old man said ponderously. “I have heard of it. But I have never seen music.”

“One does not see music. One hears it.”

“Ah, yes,” the lighthouse keeper consented, as it were with humility. This too was in the nature of things wherein all works were wonders, and all things were known eternally and were poignant in their transiency. His wide gray eyes rested upon the little fiddler and conferred upon him all the importance of which any individual is capable.

Then something in the storm and the lighthouse and the old man exalted Rudolf, filled him with compassion, and love and a spaciousness infinitely beyond himself. He wanted to strike a work of fire and stars into being for the old man. And, with the storm as his accompanist, he stood and began to play–the Kreutzer Sonata of Beethoven.

The moments passed, moments that were days in the creation of that world of fire and stars; abysses and heights of passionate struggle, the idea of order, and the resolution of these in the greatness of the human spire. Never before had Rudolf played with such mastery–or with such an accompanist. Waves and wind beat the tower with giant hands. Steadily above them the beacon blazed in its sure cycles of darkness and light. The last note ceased and Rudolf dropped his head on his chest, breathing hard. The ocean seethed over the island with a roar as of many voices.

The old man had sat unmoving through the work, his broad gnarled hands resting on his thighs, his head bowed, listening massively. For some time he continued to sit in silence. Then he looked up, lifted those hands calmly, judiciously, and nodded his head.

“Yes,” he said. “That is true.”